Hello, Catherine! Along with the original, it’s nice to have the Salzedo edition for the great fingerings. He changed a lot of notes, which I changed back to the original. For example, there is no problem doing the one-handed trill in the slow movement. Also, his edition shows the flute part, which is very helpful. I have used the Reinecke and the Nino Rota cadenzas, both of which I like very much.

Yes, Carl, the fingerings work like a charm. There’s a particularly good one in the first scale passage, that’s worth the price of the whole thing.

Salzedo did not make extensive changes to the Mozart. If you look carefully, there are just a few measures where notes are changed to make it consistent with itself or to make it more playable. Moreover, his edits of the Reinecke cadenzas make them far more effective in performance and less Victorian sounding. His edition is the most consistent and tasteful. I have never heard a harpist play effective one-handed trills that match the flute. His two-handed trills allow the harpist to match the flute and to be thrilling instead of chilling and inept sounding. He added to the orchestration a pizzicato accompaniment there to replace the left hand. Moreover, he cut the horns melody that obliterates the harp solo in the third movement. His adaptation of the orchestration was not published, though, you have to get it from someone who has it. I would only use the original if I was playing this with a little ensemble, and then you have to find cadenzas to fit, with scores of them to choose from, and few of them effective for the harp. The Reinecke are completely in character with the Mozart, and the presence of glissandi does not make the Romantic instead of Classical. I think you should either use the Salzedo edition, or not, but don’t change it willy-nilly. It makes sense as it is.
The only, only change I make is to play the appoggiaturas as quarter notes and not as sixteenth-notes, but he had a reason to make them 16ths, too.